Friends of Cheltenham Symphony Orchestra
Newsletter
June 2013
Chairman’s notes
The 'Friends' Newsletter is an annual communication these days!The concerts so far this year have been outstanding. The Pump Room has definitely become the orchestra’s 'home' venue. With its wonderful acoustics it is the perfect place, and it is greatto see a nearly 'full house' every time. Having a January concert early this year was a good idea as it was a time when we needed cheering up.
Soon we will be coming up to the Rick Wakeman concert, something very different, and in the big Centaur venue at the Racecourse.The orchestra is working very hard to prepare for this and its other concerts especially with such a great variety of composers. And at the end of July they are off again to Annecy, the third time. We wish them good luck for that trip and look forward very much to the summer concerts – we hope you can join us!
Monica Ellis
CSO “Grade One-Athon”
At a Christmas meal in December 2011, several members of the orchestra hit on the idea of trying a new instrument, one they had never learnt before and one that was in no way related to their current musical section. And so was born the CSO Grade 1-athon.
Nearly a year later on the morning of last November’s CSO concert, 12 brave members of the orchestra took their exams. The result: 8 distinctions and 4 merits. This included two players who decided Grade 1 was too easy and went straight to Grade 2.
The highest scorer was cellist Jess Davies with an amazing 144 on clarinet and across the board a new sense of inter-sectional empathy has been created in the orchestra.
As the orchestra had over 3 hours of examining work for the Associated Board it was able to request a dedicated examiner, who on arriving on the morning of the exams was heard to comment “I’m not quite sure what’s going on here, but there’s definitely something fishy!” Violinist John Stillman bravely took on the task of accompanying virtually all the players and so deserves a special mention for his patience as the players struggled to find notes, keep a straight face or even make any sound at all.
There is definitely talk of continuing studies amongst some of the participants although others have said that “once is definitely enough”. Watch this space for more news of further grades, strange new music ensembles and even a potential concert.
Chris O’Riordan
Pictured Left to Right:
Rachael Gee (Violin/Grade 1 Flute), David Banks (Violin/Grade 1 Bassoon), Caroline Broekman (Violin/Grade 2 Saxophone), Chris O’Riordan (Trumpet/Grade 1 Viola), Andy Murton (Violin/Grade 1 Oboe), Tom Kane (French Horn/Grade 1 Violin), Frances Murton (Violin/Grade 2 Saxophone), Jess Davies (Cello/Grade 1 Clarinet), John Stillman (Violin/Accompanist), Ben Lewis (Violin/Grade 1 Flute), Rosie Zienko (Cello/Grade 1 French Horn), Jo Phillips (Viola/Grade 1 Clarinet).
Not pictured: Louise Quick (Violin/Grade 1 Trombone).
David Curtis
Regular attendees at our concerts may be excused if they usually skip the bland biographical notes in the programmes about our regular conductor David Curtis. So on a cold dark winter evening, before David launched himself on his bicycle for another training spin, he invited Michael St. John to his home in Stratford-on-Avon to chat about his career and answer questions submitted by members of the orchestra.
How old were you when you began to play an instrument?
I was about 8. A strings group was started at my school and for some obscure reason, knowing that we had an old violin given to us by neighbours in the attic, I asked if I could play it.
What about the viola?
I found a viola under the stage at Reigate Grammar School when I was about 15 that had belonged to a previous headmaster. I bought a set of strings and tried it out and loved its sound. I played the violin in the Croydon Youth Orchestra and sat in the front desk alongside Roger Coull (who later founded the Coull Quartet). Although I went as far as Grade 8 on the violin, I decided about the age of 15 that I wanted to study the viola and went on to the Royal Academy of Music. I was taught the viola by Stephen Shingles, principal violist of the Academy of St. Martin in the Fields. I also studied chamber music under Sydney Griller (who had formed Britain’s first major international quartet before the war).
What was your second instrument?
Piano. Regrettably I wasn’t much good!
If you had participated in the recent “GradeOneAthon” what instrument would you have chosen?
French horn or double bass.
You played in the Coull Quartet for 33 years. How did you get into conducting?
About 17 years ago I was asked to provide a scratch orchestra for an event in Stratford. In the absence of a conductor, I took the baton and rather enjoyed the experience. I began to think that Stratford really ought to have its own professional orchestra and from small beginnings, the Orchestra of the Swan grew organically.
Why did you stop playing in the quartet?
At the age of 45 I decided that when I reached 50 I would seek new challenges. I sold my viola (a Santino Lavazza 1772 – believed to be now in the hands of a Swiss soloist) and began full-time conducting.
Do you sometimes wish you still played the viola?
Not really – but occasionally I think wistfully of the second viola part of Mozart’s G Minor string quintet!
What is the difference for you between conducting amateur and professional orchestras?
I try never to conduct in a different way for different groups. My objective is to enable musicians, whatever their standard, to perform to the best of their abilities – and if that exceeds expectations, I am delighted! One advantage of working with amateur groups is that we often have more time to rehearse and try out different approaches. With the Orchestra of the Swan, we usually get just three hours of rehearsal time which can be a severe constraint.
When conducting do you have any kind of empathy with the viola section?!
Yes – but in fact I love all those instruments that play the second line – flute, oboe, clarinet, bassoon etc. as they have such an important effect on the harmonic interest, tension and texture of the overall sound, and I try to bring them out wherever possible and appropriate.
Do you have to like everything you conduct in order to get the best results?
It helps, but in fact I only recall one situation where I really disliked a piece that the Orchestra of the Swan were performing and I did my utmost to hide my feelings. And the audience were wildly enthusiastic at the end!
Have you had any ‘conversions’ or revelations about composers during your conducting career?
Yes! Delius! Last year’s experiences opened my eyes (e.g. cello concerto, “Florida Suite”). I share my birthday date with Delius (29th January) and was surprised and touched recently when the Delius Society contacted me to tell me I had won an award for my “outstanding contribution to the promotion of Delius’ music”. Appropriately, the presentation was on my birthday.
Are there any works that you haven’t conducted and would like to perform?
More Richard Strauss tone poems (some are fiendishly difficult), Shostakovich symphonies – for some reason they’ve been omitted from my repertoire, and Mozart operas.
What has been the greatest challenge of your conducting career so far?
Probably conducting Beethoven’s Piano Concerto No. 3 with John Lill as soloist. He is such a fantastic musician with a huge reputation worldwide and when I stood on the podium the thought flashed through my mind, “What on earth do you think you’re doing, standing here with John Lill about to play?”
Mahler’s “Das Lied von der Erde” was also a huge challenge.
What has given you most satisfaction in conducting?
Perhaps the greatest feeling of accomplishment has come from working with the disabled kids of the Welcombe Hills School. Through music, these kids have been transformed and achieved remarkable things. On the Orchestra of the Swan’s web site there is a video of an opera “A Space Odyssey” that shows what they can achieve. They have inspired me!
What have you learnt about yourself as a result of being a conductor?
The more I conduct, the more I realise that I still have an awful lot to learn and it seems to get harder the more I learn! My objective is to enable players to perform to the best of their ability and I know that I don’t always get it right.
What advice would you give to an aspiring young conductor?
Try to set clear goals; take any opportunity to gain experience; accept that the path may zig and zag, but never give up!
You have developed many links with other countries’ musical affairs – how has that happened?
Networking, serendipity and persistence are probably the main reasons. Most recently I visited China as part of a UK Trade and Investments delegation and the British Council Cultural Connections in Shanghai – that all happened because of a short conversation with Julian Lloyd Webber’s wife Jiaxin Cheng and a chain of contacts and events. I hope to take the Orchestra of the Swan to China one day if we can raise the funds. (And the CSO year after – we just need a van driver. Ed).
You have done quite a lot of work in Finland. What has interested you most about the country?
We managed to see Father Christmas there! One winter I also went “ice swimming” when it was too cold to go running. The experience of going into a small area of freezing water in a lake that was otherwise solid ice was unforgettable. My skin tingled for two hours afterwards.
Several new players have recently joined the orchestra. Do you adjust your conducting to allow for them?
No. I realise that I should do more to welcome new members of the orchestra and I am delighted to see them – one of the great attributes of the CSO is its wide range of ages and a strong sense of “family”.
Tell us a bit about your family
My wife Val works for the Birmingham City Council as the Assistant Director of Development and Culture. She is responsible for a wide range of activities including culture and the “visitor economy”.
We have three children – Emma (27) who works in local government and lives in Stratford; Amy (25) who works in the Coin Street Collective in London; Declan (17) who plays the double bass in the National Youth Orchestra and has ambitions to be a rock star.
You have a property in France – what and where is it?
We have had the house for 7 years and it is located in a village in the Aveyron department in the south-west of the country. The nearest town is Rodez which has an airport.
Do you have any other hobbies apart from music, running and cycling?
Cooking! I enjoy Nigel Slater’s recipes and style – good, wholesome, earthy dishes.
How important is physical fitness in your work as a conductor?
I enjoy strenuous exercise – it gives immediate benefits in terms of feeling fit and healthy. I have just acquired a new bike on which I hope to ride in a full-length Olympic triathlon soon as well as running more marathons.
How do you manage nerves before a concert?
If I have done the correct preparation then nerves are not a problem.
If you hadn’t become a musician, what would you have liked to have done?
I have always fancied being a journalist – especially a foreign correspondent with all that travel to exciting places.
If you had just one piece of music to listen to for the rest of your life, what would it be?
That’s a hard one. Perhaps some Bach – his music transcends time and place.
Do you have any unfulfilled ambitions?
In a couple of years I shall be 60 and I have a list that includes things like climbing Kilimanjaro, the base camp of Everest, running a marathon in under four hours and visiting Tokelau close to the International Date Line.
Chipstead Valley Primary School - conductor/teacher Kenneth Maw. The leader is Lynne Butler, Deputy Head of UK Operations, Associated Board of the Royal Schools of Music; next to her is Judith Agett who used to play in the Halle, now Orchestra Manager 18th Century Concert Orchestra;; clarinettist Nicholas Ross is Principal Clarinet at Scottish Opera. Find the maestro!
Profile of Janet McKechnie (Principal Clarinet)
When did you start playing and what instrument was it?
I started learning the recorder when I was about 7 I think – my parents were so impressed with my progress that they bought me a clarinet for my 9th birthday and found me a teacher who walked for 2 miles each way on a Sunday morning to come and teach me. At age 11 I started going to Junior Trinity College (as it is called now) and spent each Saturday learning clarinet, piano, musicianship etc. I got my LTCL diploma when I was 17.
Why did you choose your instrument?
I didn’t – see above! In fact I really didn’t like it – it was so heavy for me that my Mum had to hold the end up while I played in the kitchen.
What was your first musical experience?
I can remember playing with the recorder group at Junior school at a concert (probably age 10) – and my reed stopped working so I just pretended to play!(no chance of doing that in the in CSO! Ed)
Also playing a solo piece with piano by Weber (probably age 11)– and the pianist went so fast I couldn’t keep up and didn’t know how to change the speed!
My most memorable experience was playing in the British Youth Symphony Orchestra (age 16) and being conducted by Sir Adrian Boult – he just moved the stick up and down by a few inches at a time, but somehow it worked and we all adored him. At the age of about 16 I played in the British Youth Symphony Orchestra with Tessa Pemberton (Principal oboe in the CSO) - although we only found that out a few years ago! We played Mahler 1 and I still have the recording on LP!
Training/further education?
Physics degree at Birmingham University – met Andrew and the rest is history
What sort of music do you most enjoy playing and/or listening to?
My first love is playing in orchestras – I just love the feeling of being part of the team and blending my playing with everyone else. Favourite music is late classical and romantice.g. Dvorak, Tchaikovsky, Brahms, Richard Strauss (The “Four Last Songs” is my Number One).
Do you have pre-concert nerves and how do you cope?
Yes for solos but not really for orchestral any more - one of the advantages of getting older! A little adrenalin is good for me and I usually play better in a concert than in a rehearsal. If I do get nervous, I ‘turn’ my mind away from thinking about it until it is really close
What’s your favourite book
Don’t have time to read!
And film?
Whichever film I have just seen- so at the moment it is Les Miserables.
What other hobbies do you have apart from music?
Not a lot of time when I am not working (60-70 hours per week) or playing, but I do like working in the garden, especially dabbling in my two ponds.
Where do you like to go on holiday?
Favourite place is the Scilly Isles – we have been three consecutive years at Easter time and it is a perfect mix of walking, boating and eating. Usually though we deliberately don’t go back to a place. The only other exceptions are Canada (twice) and Aviemore, Scotland (four times).
What family do you have and what do they do?
Elaine is 31, works in Oxford as a Marketing Manager for Oxford Innovation. Stuart is 29, works in London as an Engineer in a high-profile Building Services company – currently travelling round the world with partner Laura.
What kind of work do you do?
I teach Physics at Pate’s Grammar School, Cheltenham where I have been for nearly 5 years – but that is the tip of the iceberg. I have many additional roles: training the next generation of science teachers for the University of Gloucestershire, managing the induction of new qualified teachers and trainee teachers at Pate’s as well as promoting extra-curricular activities in science and engineering for Pate’s students and local schools.
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1If you could meet anyone, alive or dead, at a dinner party who would it be?
I would be far too scared to start up a conversation with anyone famous.
1Do you have any unfulfilled ambition that you are willing to share in this ‘interview’?